As many different Red SENSORS as there are FILM STOCKS....well sort of.

[Martin Stevens]

I would love for Red to offer in the future just as many Red SENSORS as there are FILM STOCKS....well sort of.

I would love to see Red sell a variety of sensors for their cameras so you can choose which sensor you want.

So for example, when you buy your Epic you could buy it with lets say an ISO 100 Daylight Sensor, or an ISO 100 Tungsten Sensor.
Some operators might want an ISO 2000 Tungsten Sensor etc. etc.

This idea is obviously not new, but I would love to see the future of digital cinema have lots of sensor options.
One day Red and others will probably have a single sensor that can cover all our needs and so the
world of multiple sensors will no longer be needed.....perhaps.

I'm still interested in the user or Red installable OLPF ND filters for the Epic etc.

So, what comes after the DRAGON.........? The future looks fantastic. Thank you RED.

 

[Justin McAleece]

Sounds fun! At least the user installable ND's would be good. It would certainly make things more complicated for the world of RED and misinformation. The tungsten sensor I think wold just mean that there was a CTB filter in there though.

 

[Martin Stevens]

I can see the use of a CTB filter added to the OLPF, but hopefully one day sensors will be able to be natively Tungsten, or
so sensitive that setting the image to Tungsten doesn't have any issues.

 

[Andi Loor]

From Broadcas Engineering:
The ITU-R Recommendation lays out the quality standards for UHDTV in two levels. The first, a 4K version, has the equivalent of about 8 megapixels (3840 x 2160 image system), and the second, an 8K version has the equivalent of about 32 megapixels (7680 x 4320 image system). Other UHDTV picture quality improvements include greater color fidelity and options for a higher number frame rate.

 

[Martin Stevens]

Any news on the user installable ND's would be good.

 

[Mike 'Fireman' Ross]

Tungsten etc. you just filter... ditto for ND.

But I have given the analogy before of Nikon: D3x vs. D3s. It's tricky to make a one size fits all sensor, most especially when the target market includes both cinema and stills pros (DSMC, remember - don't lose sight of that!)

Giving a choice of at least two; small photosite / high res and large photosite / lower res (but much faster / lower noise floor) is an idea that might have some traction. It clearly works for Nikon, and they know a thing or two about making and selling cameras...

Mike

 

[Nils Ruinet]

The sensor is really the last part in a camera I would want to touch / change. That sounds like the best way to get dust and backfocus issues, and even to break it.... You can achieve so many different looks in post while color grading, you can downconvert if you lees less pixels (oversampling is always good), you can add NDs while shooting if there is too much light....

There is one point though in which I would be interested to hear if there has been any progress, that's the integrated ND filters that were supposed to be exchangeable in the camera. But even that, I'm not so sure I would want to change it in the field...

 

[Russ Fill]

Hipstamatic for Epic?? only sensors... A retro sensor would be cool with a nice torn border...Just kidding... sort of..

 

[Victor Lazaro]

Same here I would be much more interested in integrated ND than interchangeable sensors...
IMHO the sensor is more flexible than film and doesn't require such change, plus I'd feel uncomfortable changing the sensor, already the mount is more than enough.

 

[David Mullen ASC]

I thought one of the advantages of digital was that we could get away from needing multiple film stocks for multiple situations?

 

[Martin Stevens]

I was hoping to have multiple cameras (one day) with multiple sensors already installed.

So I would just switch between cameras depending on the shot/scene.

 

[David W. Jones]

I'd be happy with a Pez dispenser that would never run out.

 

[Russ Fill]

How about instead of different sensors, different chassis. You could mix and match and have a different colored camera for every day of the week.
Obviously the Black Epic would be for evening productions.:sarcasm:
I agree with David, the reason for a very versatile sensor is to help you have a very good tool for many situations and not be dragging a bunch of different sensors around because they only have certain looks.